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Old 02-22-2016, 05:19 AM   #1
dpaterso
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Default Entries - Dark Valentine's contest 2016

Here's the list of entries for this year's fun V'Day contest:

Blackfoot
The text :-)
Be Mine
The Letter
Them Good Old Days
It's A Date
Second Entry
Dark Valentine
Shuriken of Love
Girl Next Door

You know how it works, you read the entries (making a note or two while you do this might help) and pick your 1st, 2nd and 3rd top choices.

Please PM or email me your picks in the format:

1st - title
2nd - title
3rd - title

Let's aim for voting by next Sunday night, that's the 28th. (Though if all entrants send their votes before then, I'll maybe add up the votes and post the results earlier.)

You don't need to be in the contest to vote, all DDP members are welcome to participate.

The suggested theme was "Dark Valentine's" but this wasn't obligatory or anything, just saying don't expect to find something dark in every entry.

While PDFs give an easy lowest common denominator, Things Can Go Wrong as the pdf-to-text software extracts the text for posting, I've edited obvious blips but if you spot any errors then let me know and I'll correct ASAP. Readers, if you find wonky format errors then assume admin is to blame, not the writer.

If you don't like the code boxes then try selecting Thread Tools then Show Printable Version.

For posterity's sake, the discussion thread is here and the results thread is here.
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And maybe start thinking about a Yuletide contest also!


Last edited by dpaterso : 02-29-2016 at 03:42 AM.
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Old 02-22-2016, 05:19 AM   #2
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Default Re: Entries - Dark Valentine's contest 2016

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Blackfoot EXT. POTATO FARMS - DAY A sea of green extends to the horizon interrupted only by a harvesting machine that pulls up potatoes. A container truck RUMBLES into view dropping loose tubers. We follow it onto the highway past a SIGN: Welcome to Blackfoot, Idaho "Potato Capital of the World" INT. OFFICE - DAY A ceiling fan SQUEAKS and sucks up smoke tendrils. The wispy trail leads us to a cigarette held by MICKEY STRIKE (40s), more slick than suave in his cheap suit behind a desk. Behind Mickey a wall calendar with the slogan "Famous Potatoes" over a baked potato photo tells us it's 1974. MICKEY Christ. Bob Tate. The Bob Tate. Here in Blackfoot. In my office. What's it been? Fifteen years? Across the desk is BOB TATE(40s) in a frumpy brown suit. BOB Twenty five since graduation. Six since you uh... stole my wife. Momentarily thrown, Mickey's still the alpha dog here. MICKEY Yeah. That. She never said she was married... to you. If it helps, she dropped me like a hot potato. BOB I heard. MICKEY Way I see it, I did you a favor. She was a tram-- we gotta let it go. We had some fun. Senior year? Prank on ol' Ms. Dinkle? Yeah? BOB Always the funny guy. MICKEY Man. I was good. BOB Well you always made sure you were the center of-- MICKEY Anyway, you're the last person I expected to see here. What's up? BOB I think my girlfriend is seeing someone... someone else. Mickey stares hard at Bob and sighs. MICKEY What's so important now bout this dame? Ask me? Maybe it's a sign. He takes a drag on his smoke before he gets on his soapbox. MICKEY (CONT'D) Intuition. Maybe we should pay attention to that one. You know? You think she's cattin' round, maybe a sign she ain't worth it. Bob scrunches up his doughy face and cries. And then sobs. MICKEY (CONT'D) Ah Christ, Bob. I didn't mean nothin' by it. Forget about it. Mickey pulls scotch and tumblers from the desk. He pours a couple fingers for Bob and one for himself. Bob wipes his face with his handkerchief. BOB I love her. Mickey hides his disappointment and holds his glass up. MICKEY Well, then here's to love. He CLINKS his glass against Bob's untouched glass on the desk, throws it back and winces. MICKEY (CONT'D) Here's the thing. I don't normally take this type a case because... how do I put this delicately-- BOB I need to know if she's with him. MICKEY Who? BOB The Potato King. Mickey grabs Bob's untouched glass and gulps it sloppily. MICKEY Blackfoot's a small town. These dames start cluckin' bout me spyin. Next thing, I'm excluded from the henhouse. Catch my drift? (beat) And the Potato King? Powerful guy round these parts. He'll slice me into fries he gets wind of this. BOB Please. I need your help. Mickey, resigned, sighs and stamps out his cigarette. MICKEY Yeah. Yeah. Only because we go back. And I owe you. Mickey grabs his notebook and pen and gets down to business. MICKEY (CONT'D) Alright, lover boy. Lemme hear bout this femme fatale. Bob sits up grateful and energized. BOB Oh she's... the most beautiful thing I've ever laid my eyes on. MICKEY Okay, stop. Here's the thing, I'm gonna need specifics. Photos? BOB No. I can describe her. MICKEY Shoot. BOB She's got the most flawless tan skin. Not a single blemish or scar. Cutest dimples. MICKEY (writing) Mm hmm. BOB (slower now) The most voluptuous curves... round and round they go. Mickey loosens his tie. Sweat beads appear on his forehead. BOB (CONT'D) Eyes... oh, they could melt butter. The fan moves in slow motion, the SQUEAK louder and closer. BOB (CONT'D) She likes to dress up for me. This slinky SILVER number with a slit all the way up to... Mickey stares at Bob. The sentence hangs thick in the air. MICKEY (parched) Up to? BOB Lets just say she knows how to accentuate those curves. Mickey gulps and his chair CREAKS as he adjusts in his seat. BOB (CONT'D) Her skin is deliciously salty... Mickey licks his lips and Bob jumps up and yells. BOB (CONT'D) AND SHE'S HOT!!! SIZZLING HOT! SHE WILL BURN YOU! Mickey jumps out of his skin. Rudely brought back to reality. The fan spins normal speed again and the SQUEAK is faint. MICKEY Christ! Scared the livin' daylights out of me. What's the deal? Bob, suddenly confident, reaches to shake Mickey's hand. BOB Thanks, I just need to know I ain't being played. You're a real pal. Bob waddles to the door and opens it. In black letters on the marbled window of the DOOR: Private Idaho Investigations BOB (CONT'D) I'll be by next week to see if you dug up any dirt on her. MICKEY Wait. Does she have a name? BOB Murphy. Just Murphy. The door SLAMS. EXT. POTATO FARMS - DAY Mickey hunches behind his camera at the edge of a field. He has potato plants camouflaging his head and torso. MICKEY Well, well... What do we have here? A bullet SLAMS into the soil just next to Mickey. MICKEY (CONT'D) Crap! He dives behind the berm as another shot hits nearby. He turns to see the POTATO KING(60s), in the flesh, strolling toward him in a fancy cowboy hat and the finest western wear. He points a rifle at Mickey and has toothpick lodged in the corner of his mouth that bounces when he speaks. POTATO KING This here's private property. I don't take kindly to poachers. Mickey stands, dusts himself off and picks up his camera. MICKEY Poachers? That's a bit extreme. It's a stinkin' potato farm. POTATO KING The only stench is you on my property. What'r you up to, boy? MICKEY I'm writing an article on potato-- BAM! BAM! The dirt dances up near Mickey's feet. MICKEY (CONT'D) Whoa! Whoa! Okay, I'm looking for Murphy. You know the name? The Potato King lowers his rifle. POTATO KING Son, tryin' to be funny? Well, I'm not in a laughin' mood. Thousands of Murphy's out yonder. Now drop the camera and be on yer way for I make tater tots outta you. Mickey confused, drops his camera and sprints away. MONTAGE: Mickey spies on the Potato King (Note- the end of each montage scene turns into an actual still photograph.) 1. Mickey follows a Cadillac with plates: "SPUD KING". Something that shimmers is tossed out across the road. 2. Mickey stands outside his car with four flat tires. 3. The Potato King strolls through downtown Blackfoot. Mickey dressed as a woman, secretly snaps photos across the street. 4. The Potato King points Mickey in drag out to the group of women with him. Cover blown they laugh hysterically. 5. In a steak house, Mickey snaps photos of the Potato King as he dives into an enormous baked potato wrapped in tinfoil. Lifting up from last STILL PHOTO we are in: INT. OFFICE - DAY Mickey slaps the photos down on his desk in front of Bob. MICKEY Nothin. And more nothin. He impatiently slaps a few more photos down. MICKEY (CONT'D) Nothin. Nothin. Guy's straight up crazy. Tried to kill me. Ruined my tires, stole my camera. What made you think he was seeing Murphy? BOB She's there with him all right. Bob's face is on the verge of tears. Mickey's confused. MICKEY What the hell are you talking about? He's alone in every photo. BOB Not only is he with Murphy, he killed her. And you let him. A killer Mickey! He's a killer! Bob stabs his finger on the photo in front of Mickey. INSERT PHOTO: A foil wrapped potato in front of the Potato King as he shoves a sour cream topped bite in his mouth. Mickey is frozen, mouth agape. MICKEY NO! Seriously? Bob's sob transforms into a maniacal LAUGH. Mickey has a sickening realization. The player got played. BOB You haven't changed a bit. I wish you could've seen yourself. Bob wipes away the tears rolling down his ruddy cheeks. BOB (CONT'D) You were drowning in you're drool, ready to pounce if you found her. Bob taps the "Famous Potato" calendar on the wall. BOB (CONT'D) Meet Murphy! Get it? Murphy!!! More laughter. Mickey, still at his desk, does not move. BOB (CONT'D) Good thing you got such a sense of humor, right pal? MICKEY Yeah. BOB Forget it Mickey, it's Blackfoot. Bob slaps Mickey on the back and exits the office. Behind the marbled glass we notice Bob's SHADOW bears a striking resemblance to a LARGE POTATO.
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Old 02-22-2016, 05:27 AM   #3
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Default Re: Entries - Dark Valentine's contest 2016

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The text :-) FADE IN. EXT. POOL AREA - NIGHT Two friends, JAVY (mid 20's) and BRETT (40's) sit at a table drinking some brews in the backyard of a house. A third friend, Xavier (mid twenty's), sits dry with his feet in the water. He wears goggles and arm floaters. XAVIER (to friends) You guys think I'll catch pneumonia like this? Oh yeah, he also has a winter coat on, under his floaters. JAVY (sarcastically) Pretty sure you got all your bases covered buddy. BRETT (sotto, to Javy) Kid is nuts. Cut the cord already. JAVY (to Xavier) Your phone is vibrating dude. Javy picks it up and reads it. JAVY (CONT'D) Nim-- Nimisha? XAVIER Nimmy? Really? Haven't heard from her since we broke up. Xavier gets his feet out of the pool and dries his hands with a towel. He squirts PURELL disinfectant on his hands. XAVIER (CONT'D) (grabs the phone) Let me see. His eyes beads from left to right as he reads, then, paleness comes upon him. Xavier frantically texts back. JAVY Well... What she say? XAVIER (panting) She said "I gotta tell you something important dot dot dot". JAVY Oh. Xavier texts again. ON PHONE: "WHAT IS IT?" "You there????" "??" "?????" XAVIER She's not replying man. BRETT Sh!t-just-got-real. XAVIER What you mean "Sh!t just got real?". BRETT I've gotten that text before... XAVIER (panting) And-- and what? Brett exhales sharply. JAVY When's the last time you two spoke? XAVIER When we broke up, like a year ago. Right after stupid Valentine's Day. I can't breathe. Javy places his hand on Xavier's head, it is drenched. JAVY Dude you're all sweaty. Sit down. BRETT Oh man... Them's the signs bro. XAVIER SITS DOWN. XAVIER What signs? Xavier texts frantically again. ON PHONE: "What's going on?" "Please answer." BRETT DA' MONSTER. Xavier continues to text. ON PHONE: "ARE YOU ALRIGHT?" "???????" "????????????" XAVIER Brett is right. JAVY WHAT? Brett TRIES not to laugh. XAVIER (nervously) He's right. What if she just found out she has AIDS or some other S-T-D or-- Sh!t! Brett looks at a disappointed Javy and finally EXPLODES with laughter. EXT. PHILADELPHIA STREETS - DAY (FANTASY) Dressed as TOM HANKS in the movie PHILADELPHIA, Xavier walks the streets to the song "Streets of Philadelphia". As he walks all the stores lock their doors, close their gates at the sight of a pale and sickly Xavier. He walks in an ever lonelier block, the only person in fact walking in the streets at all, scarf blowing in the wind. REVEAL: He is the ONLY person in Philadelphia. He looks up to the sky with a (now) long beard and screams. XAVIER WILSON! BACK TO REALITY: EXT. POOL AREA - NIGHT XAVIER I'm f***ing dying aren't I? JAVY Dude that's really what you think about AIDS? It's two thousand-sixteen! How about... INT. ARENA - LAKERS V. KNICKS BASKETBALL GAME (FANTASY) Xavier wears the number "32" Jersey for the Lakers, "JOHNSON " on the back. He shoots the three pointer. EEEEEEHHH! The BUZZER sounds! Ball goes in! Lakers win! The crowd RUSHES to the floor as "Eye of the tiger " plays in the back. They lift Xavier into the air and hand him the trophy. He is their champion. By the entrance to the locker-room from afar Xavier catches the eyes of his coach. CHARLIE SHEEN. Charlie gives Xavier a "Thumbs up". Xavier smiles, a tear rolls down his left cheek. XAVIER (sotto) For you coach... For you. Charlie, emotional, gives a nod and retires to the shadows. BACK TO REALITY: EXT. POOL AREA - NIGHT Xavier grabs car keys from atop the table. XAVIER Come on we gotta go. JAVY Where? They follow him to the car. XAVIER To Nimisha's house. JAVY Dude, just call her! XAVIER I did, three times while you were telling that STUPID story. She ain't pick up! INT/EXT. CAR - NIGHT (DRIVING) BRETT What if she got pregnant a year ago and didn't tell you because you'd freak out and now she wants you to meet your grown SON? EXT. NIMISHA'S HOUSE/INT. XAVIER'S CAR - DAY (FANTASY) Xavier is inside his parked car, it is packed with boxes. NIMISHA, (mid 20's) waves from her porch. NIMISHA Thanks for taking Brutus! Your turn now! He is ALL yours! Xavier sweats, scared to death inside the car. REVEAL BRUTUS, a 30 plus year old man with bulging muscles. His face has a constant mean demeanor to it. BRUTUS (in a deep voice) Nice to meet you, Dad. Brutus does a line of coke, pulls out a GUN and COCKS IT. BRUTUS (CONT'D) Now drive, Nigga. BACK TO REALITY: INT/EXT. CAR - NIGHT (DRIVING) XAVIER F***! F***! F***! JAVY What? That's retarded... If she had your kid, that could be the BEST Thing that's happened to you! EXT. BEACH - DAY (FANTASY) Xavier waits by the altar in an extravagant beach wedding. Everyone wears white. It's luxurious. The ring bearer is a LITTLE GIRL, HIS little girl, who spreads flowers as she hands the ring to her Father. LITTLE GIRL You're my hero Dad. Next to him, the beautiful Nimisha cries tears of joy, her stomach might pop any minute, she's expecting again. NIMISHA Thanks for giving me a second wedding after with my help you developed the greatest invention ever and became a billionaire. XAVIER'S MOM and DAD (60's) look on in happiness. MOM We love you son! DAD You are my greatest creation. Hashtag PROUD. Javy and Brett YELL-OUT in unison: "WE ENVY YOU!" BACK TO REALITY: EXT. NIMISHA'S HOUSE - NIGHT Xavier storms out of the car and the guys follow. XAVIER You guys are nuts! He knocks on the door. Out comes a VERY surprised Nimisha. NIMISHA Oh, um, X... Uh, what's going on? BRETT (sotto, to Javy) This gon' be good. XAVIER Whats going on? WHAT'S GOING ON!? What's going on is your stupid AIDS ridden man-child threatened me with a gun! NIMISHA Uh--- O-kay? BRETT (murmurs to self) Nailed it. JAVY Not cool dude. Not cool. XAVIER You hid your pregnancy from me! NIMISHA WOAH! I'm certainty NOT pregnant. XAVIER Then how come I have AIDS? WE USED PROTECTION! NIMISHA What? You've got AIDS? XAVIER Yeah because YOU got AIDS! BRETT (to self) Three, two... SLAP! NIMISHA I DON'T got AIDS, I am NOT pregnant, and just WHAT THE F***, is the F*** wrong with you? XAVIER (rubbing his face) Weh--Wait... Then why did you text me today? NIMISHA (angry) To wish you a happy valentines day because I missed you and it reminded me of how HORRIBLE I feel about not being with you! But OBVIOUSLY you are a PSYCHO STILL! XAVIER Wait... (then) You just... You mean that? NIMISHA YES! I MEAN THAT. XAVIER FLASHES BACK TO: 1. WALKING ALONE IN THE STREETS OF PHILADELPHIA. 2. PLAYING FOR THE LAKERS. 3. GETTING THREATENED BY HIS GROWN SON IN THE CAR. 4. THE BLISSFULNESS OF THEIR WEDDING. BACK TO REALITY: EXT. HOME FRONT PORCH - DAY An old Xavier and Nimisha sit swinging in adjacent rocking chairs holding hands. They look happy. A futuristic sleek cellphone vibrates on a table near by. SUPERIMPOSED: "EIGHTEEN OR SO YEARS LATER" XAVIER (towards phone) Project! The phone hovers, then PROJECTS a 3-D text message in thin air, it reads: "MUSHKIN: Hey Dad, I got something to tell you, please promise you wont be mad..." Xavier begins panting, sweat pours from his forehead. We END on a closeup of his WIDENING eyes. FADE OUT. THE END
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Old 02-22-2016, 05:28 AM   #4
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Default Re: Entries - Dark Valentine's contest 2016

Code:
Be Mine INT. CLASSROOM - DAY A school bell rings. Pizza faced SCOTT, 16, sits entranced at his desk. The object of his desire, ASHLEY, 16, head cheerleader. Every teenage boy's wet dream. The last student in line out the door, she looks back at Scott. Whispers to the girl in front of her. They giggle. The friend exits. Ashley turns to Scott. ASHLEY You have something. She points at the side of her head. Scott snaps out of it. He fumbles through his red afro. Retrieves a spit ball. Stares at it. Slowly raises his head, embarrassed. SCOTT Thanks. Ashley is gone. INT. SCHOOL HALL - DAY Scott closes his locker. He looks up at the clock on the wall- 3:10. Alone in the hall, Scott looks over at Ashley's locker. Her name in glitter, it's decorated in school spirit. A candy wrapper lay on the floor beneath it. Scott walks to it. Looks both ways. Shoves it in his pocket. Scott drops his head. Meanders to the exit. EXT. STRIP MALL - DAY Scott walks along the sidewalk. Passes each small shop. Valentine's Day sale signs in every window. Scott stops in front of a newly opened shop. The "Final Day" sign catches his eye. Scott enters the SHOP Dimly lit. Red everywhere. An old voice greets him. OLD MAN (O.S.) Welcome! Startles Scott. SCOTT Hello? The OLD MAN emerges from the shadows. OLD MAN Looking for something special? Scott glances around, timidly. OLD MAN For a special someone? Scott, embarrassed, turns to leave. OLD MAN Wait. Scott stops. OLD MAN I can help. I've been helping teenagers for years. Scott slowly turns around. The Old Man taps his chin. OLD MAN Let me guess. A girl? Scott looks at the Old Man then looks down. OLD MAN Yes, of course it's a girl. The Old Man smiles, draws near. OLD MAN Girlfriend? Scott shacks his head no. OLD MAN Want her to be? Scott, uneasy. SCOTT Just for one night. The Old Man cackles. SCOTT I think I should go. The Old Man gently touches Scott's shoulder. OLD MAN I guarantee my gifts will bring you the attention and results you deserve. Scott stares at the Old man. OLD MAN Any idea what she likes? Scott thinks a moment. Perks up. Pulls the wrapper from his pocket. OLD MAN Ah yes. Chocolate, every woman's friend. Scott smiles. OLD MAN I have exactly what you need. The Old Man produces a chocolate bar. The wrapper glitters, mesmerizing. SCOTT How much? OLD MAN What do you have? SCOTT Five dollars. The Old Man shakes his head. OLD MAN Not enough. Perhaps you should get her a card instead. He tucks the candy away. Scott, like an addict, grabs the Old Man's arm. SCOTT Wait! I can come back tomorrow and pay. The Old Man pulls away. OLD MAN Sorry, last day in business. Scott is frantic. SCOTT What can I do? The Old Man slowly turns around, smiling. In his hand is a document. OLD MAN You could sign this promissory note. Scott tries to read it. So many words, so small print, such dim light. OLD MAN Just sign it and pay me later. The Old man walks over to the counter. Scott follows. The Old Man produces an old fashioned pen. SCOTT Okay. Scott reaches for the pen. The Old Man grabs Scott's wrist. Pokes Scott's finger with the pen. SCOTT Hey! The Old Man smears Scott's finger across the page. SCOTT What the Hell? OLD MAN Sorry, It's out of ink. The Old Man lets go. Rolls up the paper. Tucks it in his shirt. Hands Scott the candy. OLD MAN Make sure you both take a bite. Scott sucks his bleeding finger. OLD MAN After she has some, she'll agree to anything you say. Scott snatches the bar, heads for the door. OLD MAN (O.S.) And be in your room by midnight, alone. Scott stops, turns around. SCOTT Why? The Old Man is gone. Scott exits the store. EXT. STRIP MALL - DAY Scott thinks for a moment. Reaches for the shop door. A loud click of the door lock. A hand flips the sign from open to closed. INT. SCHOOL HALL - DAY Valentine decorations galore. Scott approaches Ashley at her locker. Startled, she looks around the empty hall. ASHLEY What do you want. Scott holds out the glitzy candy bar. Ashley can't stop staring at it. ASHLEY It's beautiful. SCOTT It's the best in the world. He unwraps it. Breaks off a piece. Eats it. SCOTT Try some. She takes the bar. Nibbles on it. Smiles. ASHLEY It's so good. Scott, excited now. SCOTT Maybe you can come over later to study. Mom's out of town. Ashley nods her head. Looks at Scott seductively. SCOTT How about nine? Ashley, barely able to talk, nods. ASHLEY I have a thing. How about a little later? Scott nods his head. Turns and leaves. INT. SCOTT'S BEDROOM - NIGHT Scott scurries around the room. Candles burning, rose petals everywhere, cheesy romantic music plays in the background. He slightly moves a teddy bear. Adjusts a camera hidden beside it. Scott stashes a roll of duct tape and butcher knife under his pillow. Scott lays back on the bed. Reads a "Forced Sex" magazine. He nods off. The candles burn to nubs. Scott wakes up. He looks at the clock. 9pm has quickly turned to 11:59. SCOTT I should have known it was all bullshit. ASHLEY (O.S.) Scott? Scott perks up. SCOTT Upstairs! He looks at the clock - 12. He suddenly breaks out in a sweat. His body shakes violently. His eyesight blurs. The bed grows larger. The room enormous. Ashley enters the room. She looks around. She walks to the bed. ASHLEY Scott? Where are you? Something on the bed moves toward her. She looks down. Sees a big spider. She picks up the magazine. Screams. Smashes it. She staggers around. Then, as if waking from a dream, looks around. ASHLEY What the Hell? She bolts from the room. END
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Old 02-22-2016, 05:30 AM   #5
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Default Re: Entries - Dark Valentine's contest 2016

Code:
The Letter EXT. TOP OF THE HILL - DAY A tiny hut rests lonely at the top of a remote hill covered in snow. The day is gray, thick clouds are forming, it's going to snow again. There's no trees on the hill. The only access to the hut is a narrow dirt path that has not been cleared in a long time. Not many people come to this place. A MASSIVE BODY covered in fur walks through the path to the hut slowly, with some difficulties. Heavy steps muffle in the snow. A set of KEYS jingle. There's a BUCKET and a BAG hanging from the heavy arms. As we get closer to the hut, we see through the frosted window that there's someone in the hut, doing something on the wall. There is also a FLOWERPOT with a weak daisy trying to find some light. INT. HUT - DAY It's really cold and dark in here. The only light comes from the single window. There's no electricity, no heating. Walls are dark and stained with dampness. We hear someone writing with CHALK. The decoration consists of a single tiny mattress on the floor near the window, covered with a stained bed sheet, perfectly arranged. There's also a bucket nearby. And the flower. Was that a rat running down the floor? One half of the wall closest to the mattress is covered in white, tiny, dense hand writing. Every line has a date and some text. It's a chalk diary. The last line starts with "February 14th". The writer is SAMMY, 15, a skinny tall girl. Her intense blue eyes contrast with her emaciated and dirty face. A tooth is missing and there are bruises all over her. Her fingers hold a piece of lime she uses as chalk. Her fingernails are cracked and dirty. With every stroke a puff of breath comes out from her mouth and nose. She's clearly not properly dressed for this cold. She's shivering. Sammy tries to write a bit further but something is holding her. SAMMY Sh!t... HER FOOT is constrained by a thick chain. Her skin around the ankle has peeled off where the chain is, showing some blood. The chain is bolted to the wall with a big lock. She tries to stretch a bit further when she sees a huge shadow covering her window. She freezes. The shadow passes the window and now blocks the light under the door. The keys jingle. Someone is trying to open the door. Sammy quickly puts the piece of lime under the mattress, licks her fingers and stands near the mattress like a soldier. The door opens, snow flying inside. A HUGE WOMAN enters inside. Around two meters tall, nearly as wide. She's wearing a heavy fur coat. Outside in the forest, you may confuse her with a big bear. But no, she's a Woman. Or close enough. She puts the key on her pocket. She leaves a bucket on the floor and takes the old one outside. She drops the bag on the mattress. Sammy rushes to the bag and opens it. She takes a baked potato from inside and warms her hands with it. Then she starts eating it in small bites. The Woman stares at her, as examining a pet. No expression in her eyes. SAMMY May you close the door, please? It's freezing in here. The Woman does not react. She looks at the little daisy on the pot. Her mind lost somewhere else. SAMMY Bad day? Nothing. Sammy shrugs, this seems to be the norm. Her potato is more important now. She looks at her wall and the last line she wrote. SAMMY Today it's Valentine's Day. Now the Woman reacts. She frowns. SAMMY (as she chews her potato) Do you have anyone special? Without warning, the Woman SLAPS Sammy hard on the face, so hard that makes her fly in the air and fall hard on the floor. The chain pulls painfully at her ankle. Sammy groans and checks herself for anything broken. Another tooth is moving a little. She looks for her potatoes. They rolled out to the other side of the hut, out of her reach. She sighs, knowing that complaining or crying is useless here. She looks at the Woman, who is panting heavily. Let's appease the beast. SAMMY I'm sorry if I offended you. I truly deserved it. Sammy examines the Woman with her smart eyes. Something happened today. SAMMY (treading lightly) I hate... Valentine's Day. The Woman nods slightly. She hates them too. Sammy notices. The Woman is very emotional. Unusual. Sammy tries. SAMMY He doesn't love you? The door bangs the wall, pushed by the wind. The Woman stares at the daisy. To Sammy's surprise, the Woman starts crying softly. Now we got something. Sammy thinks fast. After a very long beat. SAMMY I can help you. The Woman looks at her, annoyed. What the hell are you talking about? SAMMY I mean it. I can make him love you. The Woman grits her teeth in anger. She walks to Sammy and rises her hand, ready to slap her again. Sammy covers her face. SAMMY A letter! The Woman stops inches from her. SAMMY Today it's Valentine's Day. I can write him a letter that will make him fall in love with you. The Woman looks at her for a long time. How can that be possible? Sammy points at her written wall. SAMMY Look at the wall. You know I can do this. I know you like what I write. This is why you-- you made me your guest, right? The Woman looks at the wall, full of Sammy's calligraphy. A letter. Maybe. SAMMY You have nothing to lose. The Woman considers for a moment. Then she looks at Sammy. She nods once, with energy. SAMMY But there are two conditions. The Woman grunts. What is it? SAMMY It must be a hand written letter. Something typed won't work. The Woman thinks for a moment. It makes sense. Ok. SAMMY And then you will free me. The Woman sniffs and gets defensive again. Instinctively, she puts her hand in her pocket, where the key is. Sammy notices this. SAMMY Only if he falls in love with you. The Woman thinks about this. She taps the key in his pocket. She then goes out the door and slams it shut. She locks the door and steps away in the snow. On Sammy, as a thin thread of hope appears in the horizon. INT. HUT - HOURS LATER A MONTAGE of images as hours pass by. Sammy trying to reach one of the potatoes on the floor, without success. Sammy writing on the wall. Sammy getting another piece of lime from a section of the wall. Sammy trying to hunt the rat or whatever that is. Sammy licking the lime, out of hunger. Sammy writing more on the wall. Sammy losing hope with every passing hour. EXT. TOP OF THE HILL - DAY The sun is going down. The hut is lighted by an orange sunset. INT. HUT - EVENING Sammy is resting on the mattress, playing with her flower. Suddenly, the shadow appears on the window again. Sammy jumps up as she hears the door being unlocked. The Woman comes inside, carrying a stack of PAPERS. She drops them near the mattress. She also drops a couple of ENVELOPES and a PENCIL. Sammy looks at the open door. Then kneels down and checks all the material. She nods at the Woman. The Woman is expectant and nervous and doesn't know what to do. She just stands near the door. Will this work for real? Sammy is nervous too. Sammy grabs the pencil and gets ready to write. SAMMY You'll have to help me a little. What's his name? The Woman tries to explain with gestures but doesn't know how to say. She gets frustrated. SAMMY Don't worry, we don't need it. Sammy writes "My dear love". SAMMY How does he look like? The Woman puts her hands over her head (tall) and then side to side (big like her). She flexes her arms (strong). She touches her chin and the sides of her face (has a beard). Sammy keeps writing. The Woman points at one of her eyes, closes it and moves her finger side to side (no eye). SAMMY Ok, maybe we can skip that. How do you feel when you are near him? The Woman pauses. She waves his hands around and touches her heart. She feels so much but is unable to express it. Sammy feels her pain and puts down the pencil. The Woman doesn't know what to do except start crying again in frustration. Sammy gets as close to her as the chain allows her and touches her hand. The Woman looks at her with eyes full of tears. SAMMY Do you feel nervous when he's near? The Woman looks at her for a while. Then nods. SAMMY Do you feel happy when he arrives and sad when he leaves? Like something is missing inside you? Nods. SAMMY Do you feel he's the only thing you need, more than eating or sleeping? Do you feel joy and pain at the same time? Nods. Nods. The Woman looks at Sammy in awe as she writes everything down. Sammy thinks for a moment. She looks at her daisy, her only connection to the outside world. SAMMY Do you feel trapped in this world? Only free when he looks at you? The Woman feels like her mind is being read. How does she know all this? She looks at the chain around Sammy's ankle. She nods slowly. That's exactly how she feels. And now maybe she sees other things. Sammy keeps writing for a while. After some long minutes, she puts the pencil aside and quickly reads the letter to herself. She seems satisfied. SAMMY I think it's done. Oh, a last touch! She takes the pencil and uses the sharp tip to puncture her thumb. A thick drop of crimson blood appears on it. She smears the bottom of the letter with it. The Woman does not understand. Sammy keeps working on it until she makes the shape of a red heart with her own blood. Now it's finished. The Woman is impressed and touched. SAMMY You have to read it and sign at the bottom. Can you do that? The Woman nods. There's gratefulness in her eyes. Nobody did something for her like that before. Sammy offers the letter but before the Woman takes it... SAMMY And then you'll set me free. The Woman looks at her. Then at the letter and her own extended hand nearly touching it. She clears her throat. WOMAN (nearly inaudible) Y... Yes. Sammy hands her the letter. The Woman takes it as the most precious thing in the world. The Woman turns around and starts reading the letter. She's a slow reader but as she proceeds, overwhelming emotions flow to her. It's probably the most beautiful letter she's ever read. She cannot help start crying. It's going to work, he's going to fall in love with her. She touches the key inside her pocket. A decision being made in her mind. With eyes full of tears she offers her hand to Sammy and turns it into a writing position. The pencil, please. But the pencil does not appear in her hand. She turns around. And then Sammy SCREAMS and stabs the Woman in the eye with the pencil. The Woman HOWLS in pain and tries to get rid of Sammy. But she doesn't let go and deepens the pencil even more, with a nasty BREAKING BONE sound. The Woman's limbs go limp. Sammy quickly finds the key in her pocket and tries to free herself but the massive Woman's body starts falling over her like a meteorite approaching Earth. The flowerpot smashes to pieces. As Sammy tries to escape, the chain tenses around her leg and something breaks inside. The huge Woman, still holding the letter in her hand, falls dead on top of tiny Sammy, hiding her body completely as if she never existed. Under the Woman, Sammy struggles to breath. She rises her body a little, as she holds the key on her hand. She can see the door open in front of her, just a few feet away. Then her world turns into darkness. THE END
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Old 02-22-2016, 05:34 AM   #6
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Them Good Old Days FADE IN: EXT. HOUSE -- DAY A dilapidated house; alone on a hilltop; junk scattered about its perimeter. JEMIMA -- six years old, ragged, and tired -- heaves a bucket of coal to the doorstep. EXT. FIELD Mist descends. HOLROYD -- mid thirties, ragged and red eyed -- swigging the last few drops from a whiskey bottle, trudges over frozen sod towards the lone house. He carries a heart shaped chocolate box and a posey of flowers. He throws the bottle to the ground. EXT. HOUSE Holroyd tugs the bell rope. A little unsteady on his feet, he steps back and waits; a hint of nervousness on his breath. He pulls a letter from his pocket: Dear Holroyd, I want you back. Yours, Patricia Holroyd pockets the letter and pulls out a fresh bottle of whiskey. Knocking back a swig, he rings the bell again. PATRICIA -- mid thirties, ragged and mean-faced -- opens the door... PATRICIA Oh. F*** off. She slams it shut without a moment's thought. HOLROYD Patricia! I'm a changed man! It'll be just like them good old days! There is a moment's despair in his eyes. He re-reads the letter; mouthing out the words as he does so. INT. HOUSE, HALLWAY Jemima peeps through the spy-hole. EXT. HOUSE Holroyd is a teary mess. He knocks back another swig. HOLROYD I won't give up on you! Stepping back, he places the flowers and chocolates on the ground, then rolls up his sleeves and readies himself to run at the door... INT. HOUSE, HALLWAY Jemima unlocks the door. EXT. HOUSE In a burst of shear athleticism, Holroyd charges... INT. HOUSE, HALLWAY Holroyd crashes into the hallway; his fifteen stone of heft launching Jemima into the wall. Holroyd looks up to see Patricia peering over him. We hear the raspy voice of FATHER: FATHER (OS) Is he here? Patricia lets a gob of spit fall on Holroyd's face. FATHER (OS) (cont'd) Come in! I hope you're staying for tea. Holroyd reaches into his pocket, but Patricia trudges off in a scowl before he has a chance to show her the letter. INT. HOUSE, KITCHEN The room is thick with steam. Pots and pans hang from the ceiling. Every nook and corner is cluttered with junk. FATHER -- bent backed, wispy haired -- sits at the table. He reaches his hand towards Holroyd's. FATHER The prodigal son returns! How are you? Keeping well? Patricia slings plates onto the table. PATRICIA He eats, then he goes! Jemima carries the chocolate box to the table. FATHER Take a seat. Father gestures Holroyd towards a chair on which Jemima is about to sit. Father lays a hefty smack across Jemima's face. She backs away. Holroyd sits down. Father snatches the letter from his hand. FATHER (cont'd) That's my pen-work. Only way I could get you here. I hope you don't mind, hey? Father takes a chocolate. Jemima reaches towards the box but Patricia -- snatching the box away -- slaps her hand from it. Holroyd, beaded with sweat, removes his greatcoat. He mops his brow. Knocks back more whiskey. We hear a loud shriek. It sounds like a parrot in distress, and comes from elsewhere within the house. PATRICIA Shut! Up! Father leans in to Holroyd. FATHER Remember that revolver I had? He reaches into his pocket and pulls out a fist of banknotes: thousands of pound's worth. FATHER (cont'd) For you. If you do it. Holroyd is taken aback. Another glug of whiskey. Father holds the clutch of banknotes against Holroyd's clammy hand. FATHER (cont'd) Go on. Touch the money. A maniacal grin forms across Father's face. More whiskey. Holroyd's head is becoming heavy. FATHER (cont'd) Go on. Touch it. PATRICIA (to Holroyd) What's those hands of yours doing? Holroyd throws his arms up as if under arrest. Father turns to Holroyd. He taps his nose. Another shriek. Father shapes his hand into a gun and points it towards the door. FATHER (whisper) A favour... Before you f*** off again. He mimes pulling the trigger. Holroyd doesn't seem to be concentrating. He looks very pale. Patricia doles out large lumps of stew onto the plates. Jemima -- bruised forehead, red ear -- screws her face up at the grey mass of offal on her plate. Holroyd swigs more whiskey. As he does so, he begins to cough. Then, all of a sudden, he lurches back. He reaches out for the hem of his jumper, pulls it out in front of him, them vomits into it. An ad-hoc bowl of sick. Father laughs. PATRICIA Jesus Christ! Have you been drinking? Holroyd -- his jumper heavy with vomit -- eases himself up from his chair, and waddles towards the sink. He tries to pour the vomit into the bowl but most of it ends on the floor. HOLROYD I'll get a towel. JEMIMA Is he my Dad? Holroyd has removed his jumper; revealing a naked torso covered in scabs and scars. PATRICIA Put something on, will you! FATHER Have one of my shirts. Father points towards the door. Another shriek. Father makes the gun gesture once more. He mouths the words: FATHER (cont'd) Go on. Holroyd hesitates. FATHER (cont'd) The money... PATRICIA What money? FATHER Do. It. Keep the shirt. INT. HOUSE: UP THE STAIRS AND ALONG THE LANDING Holroyd climbs the stairs. With each step, the shrieks become louder. He rounds the top of the stairs and pauses outside one of the bedroom doors. He nudges the door open. The shrieks subside. INT. HOUSE, BEDROOM Holroyd creeps across the room to the tallboy. A fresh white shirt hangs on its door. He puts the shirt on; tidying himself up in the mirror that hangs above the mantelpiece. On the mantelpiece, there is a box. Holroyd opens it. There is a revolver inside. The barrel is full. A shriek. Holroyd glimpses MOTHER's reflection in the mirror. Bent backed and ghostly faced, she sits upright in the bed. Holroyd studies her reflection before -- hand quivering -- taking the pistol. MOTHER Is that for me? HOLROYD It's for some money, you see. MOTHER I thought it would end like this. HOLROYD Do you mind? Holroyd steps up to mother. She smiles. He smiles. He cocks the pistol. Then raises the barrel to her forehead. She closes her eyes. Bang! The doors slams open -- Patricia standing there with whiskey bottle in hand. Holroyd shoves the revolver into his pocket. Mother let's out an ear splitting shriek. PATRICIA Get your wandering hands away from my mother! Holroyd is nonplussed. The pistol pushes against the crotch of his trousers. This has not gone unnoticed by Patricia, who is aroused in an instant. She knocks back the whiskey then presses herself against him. PATRICIA (cont'd) Don't hurry off just yet. Holroyd tries to back away. HOLROYD I better go. She backs him onto the bed. PATRICIA This is all just a service. Okay? Holroyd is pinned down. JEMIMA (OS) When is he going? Patricia straddles Holroyd, pushing herself against the gun. Jemima stands unnoticed at the door. She holds a small suitcase. JEMIMA When is he going? Patricia is in mid passion. PATRICIA Not now Jemima! Patricia reaches for Holroyd's belt but he's slaps her hand away. She persists. He slaps her hand away again. A look of disgust shoots across her face. She backs away. Mother shrieks. JEMIMA I'm going to live with my father. HOLROYD Oh. I'm not your father. Patricia leaps up from the bed and grabs Jemima by the ear; pulling her downstairs. Holroyd is left alone. He looks at Mother. He looks at the window. He rushes out of the room. INT. HOUSE, KITCHEN Holroyd reaches for his coat. FATHER For f***'s sake! You didn't do it, did you? Patricia points to the bulge in Holroyd's crotch. PATRICIA The dirty f***. At Mother's bed he was! Jemima grabs hold of Holroyd. JEMIMA I'm coming to live with you. Patricia swings her fist into Holroyd's crotch. BANG! Jemima ducks for cover. Patricia's eyes are wide with shock. Holroyd's jaw drops. He looks down at the smoke coming from the crotch of his trousers. He grabs the gun from his pocket -- it's hot; he drops it to the floor. There is silence. Then a scream. Patricia's face is riddled with terror. Holroyd turns around just in time to see Father -- bullet hole in forehead -- collapse onto the table. HOLROYD I'd better go. At that he turns on his heel; bundling himself from the house. EXT. FIELD -- DAY Holroyd stumbles down the field. Jemima follows after him; suitcase, chocolates and posey in hand. JEMIMA Are you my father? HOLROYD No. (beat) How old are you? JEMIMA Six. HOLROYD Oh. I might be. She offers him a chocolate. His eyes dart about; his mind searching for something. Holroyd remembers! He snatches the flowers and chocolates from Jemima then dashes back up the hill. HOLROYD (cont'd) Patricia! CUT TO BLACK
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Old 02-22-2016, 05:55 AM   #7
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It's A Date FADE IN: EXT. ALLEYWAY - NIGHT A running woman comes into a view -- a bizarre vision in a "superhero" type outfit -- a combination of spandex and armor with spikes. This suits her moniker: IRON MAIDEN. She skids to a stop and looks around, seeking a way out. It's hard to see when you're wearing a round helmet that covers the upper half of your face. KNIGHT OWL (O.S.) There's no escape, Iron Maiden. Iron Maiden looks up -- he's hanging off a fire escape -- another costumed maniac in spandex and... feathers. His winged helmet covers his head completely. Big eye lenses give him the appearance of an owl. This is in fact KNIGHT OWL, crime fighter. He flaps his arms and his cloak billows out, becoming wings. With a smooth camera cut his boots touch down on the ground. Iron Maiden crouches in a fighting pose, she's ready to rumble, her big spiked gauntlets vs. his feathers. KNIGHT OWL I don't want to fight you, Iron Maiden. I already traded blows with your gang. IRON MAIDEN That was you?! KNIGHT OWL They're tied up in the bank, waiting for the forces of law to apprehend them. But I'm not interested in those deviants. I'm interested in you. Iron Maiden doesn't stop looking around, trying to figure how she can get away from this clucker. IRON MAIDEN You figure on collecting the reward money, huh? KNIGHT OWL No. Knight Owl slowly reaches up, grasps hold of his owl-lens helmet and lifts it off, revealing the face beneath. Iron Maiden gasps. IRON MAIDEN You've revealed your true identity to me! KNIGHT OWL Yes. IRON MAIDEN I can track you down and identify your family and friends, and either murder them or hold them to ransom. KNIGHT OWL Yes, I-- IRON MAIDEN Thus rendering you helpless as I launch a crime wave that will engulf this city in flames and despair. KNIGHT OWL Is that really what you want to do with your life? IRON MAIDEN The hell kind of question is that? I'm a crime queen! I rule this town! Every super villain and crook acknowledges my leadership! Anyone who crosses the Iron Maiden ends up on a spike. KNIGHT OWL It's the decisions we make that define who we are. IRON MAIDEN I like it when you say "hooooo", it reminds me how ridiculous you look in that costume. KNIGHT OWL I didn't say "hooooo", I said "who". IRON MAIDEN You just said "hooooo" twice. KNIGHT OWL I didn't say "hooooo" twice. IRON MAIDEN Look, are we going to beat the crap out of each other, or what? The night isn't getting any younger. She looks up at the sky. Dark clouds move across the face of the moon, blotting it out. Iron Maiden smiles knowingly. IRON MAIDEN Is it true what they say about you? That you derive your super strength from the light of the moon? Knight Owl looks up -- a moment of panic -- clouds! His nemesis. KNIGHT OWL It's actually a combination of moonlight and a steroid elixir of my own concoction. One still works without the other. But I say again, I don't want to fight you, Iron Maiden. IRON MAIDEN Gee, that's too bad. She attacks him, swinging punches. Those big spiked gauntlets are crazy dangerous. Knight Owl ducks and leans back and sways and avoids every punch expertly. IRON MAIDEN Stand still so I can knock your head off! KNIGHT OWL You're just getting yourself all worked up. Iron Maiden screams in rage and throws herself bodily at him. Knight Owl's eyes open wide, fuuuuuu--! He staggers back until a brick wall stops him. The spikes in her costume have penetrated him. Blood drips down onto the ground. She's glued to him, face to face. Iron Maiden's spiked gauntlets are stuck in the wall on either side of his head. She struggles to pull them out -- but they're embedded. She stares at him -- he stares back at her. KNIGHT OWL I'm getting the impression this didn't go exactly as planned? She struggles harder -- he groans in pain. Iron Maiden looks down. Realizes she's spiked him. IRON MAIDEN You're bleeding. KNIGHT OWL I bleed every night. I fight crime. IRON MAIDEN Yeah that's very heroic. And I make crime. I make more crime than you can possibly fight. KNIGHT OWL Bully for you. I'll never stop trying. IRON MAIDEN Any idea how we can get out of this? You got any gadgets on you? KNIGHT OWL I have two. IRON MAIDEN Well don't just stand there bleeding, use them. Knight Owl reaches up, takes hold of Iron Maiden's helmet, and lifts it off her head. IRON MAIDEN Hey! The hell are you doing? KNIGHT OWL I just wanted to see what the rest of you looked like. IRON MAIDEN Well now you know. Are you happy? KNIGHT OWL I'm not unhappy. IRON MAIDEN You're saying I'm not the good- looking dame you thought I was. KNIGHT OWL Who even says "dame" any more? When were you born, the 1920s? IRON MAIDEN Don't deflect. You don't think I'm pretty. KNIGHT OWL You're not what I expected. IRON MAIDEN Just what did you expect? Some knockout bombshell? The fantasy woman of your dreams? Sorry to disappoint you. KNIGHT OWL I thought you'd be ugly and twisted by what you do. That your expression would be a permanent sneer. That maybe someone had damaged you, resulting in your turning to the dark side. IRON MAIDEN The dark side? KNIGHT OWL It's a thing. Evil lurks there. IRON MAIDEN Evil lurks in my pants. You know I'm going to have to kill you now, to stop you giving my description to the cops? KNIGHT OWL That would make you a murderess. IRON MAIDEN Nuh-uh, I'd be the badass who took down the Knight Owl. People would fear me. There's a whole bunch of guys in the slammer who'd be happy to know you were out of circulation. KNIGHT OWL You expect gratitude from these malcontents and deviants? IRON MAIDEN I was hoping to inspire fear, but gratitude would be nice, too. Knight Owl's eyes close, his head dips. Iron Maiden realizes he could be on his way out. IRON MAIDEN Hey! Wake up! Don't you dare die on me! Her gauntlets are still stuck fast, she can't do anything... except nuzzle her face against his to push his head up. IRON MAIDEN I said wake up! Knight Owl! Hey! Police calling Knight Owl! There's a crime in progress! We need your help! He blinks and wakes up. Iron Maiden shows relief -- then tries to hide it. KNIGHT OWL What? IRON MAIDEN You were babbling nonsense. It disturbed me. Two CLOWNS with guns come waddling into the alleyway. SAD CLOWN Boss! You okay, boss? IRON MAIDEN Do I look as if I'm okay?! HAPPY CLOWN The cops are all over, we gotta get back to the hide-out! The clowns stop and examine Iron Maiden and Knight Owl. SAD CLOWN You want us to come back later? IRON MAIDEN Hit my gauntlet release switch, I'm stuck here. The clowns glance at each other. Interesting. HAPPY CLOWN Knight Owl, huh? Tough guy! KNIGHT OWL (to Iron Maiden) Why clowns? IRON MAIDEN Why not clowns? Seventy-five percent of people are afraid of them. KNIGHT OWL I think that's an overexaggeration. IRON MAIDEN I think you don't know what you're talking about! She looks at the clowns. IRON MAIDEN I said hit the release switch. Happy Clown scratches his jaw thoughtfully with his gun barrel. HAPPY CLOWN Yeah, yeah, in a second. You look very happy together. IRON MAIDEN You are out of your mind. It's like a switch is thrown, Happy Clown becomes psycho. HAPPY CLOWN You're saying I'm crazy?! IRON MAIDEN No, I didn't say that, I said get me out of here. SAD CLOWN Just because we spent some time in the asylum doesn't mean you can look down on us. IRON MAIDEN I'd never do that. I got you out of there because I knew you were good boys at heart. HAPPY CLOWN Yeah, we are. Happy Clown puts his gun to Knight Owl's head. IRON MAIDEN Wait, what are you doing? HAPPY CLOWN This guy put my brother in the slammer. Time for payback. IRON MAIDEN Put the gun down. I don't want-- HAPPY CLOWN Shaddup! I'm giving the orders now! SAD CLOWN Yeah, Happy's giving the orders now. IRON MAIDEN You sons of-- KNIGHT OWL Say hi to your brother for me. Knight Owl throws Iron Maiden's helmet at Happy Clown, DUNG! He goes down. Sad Clown gapes in surprise, making a big show of it, like a clown would. Then he brings his gun up. Iron Maiden kicks him in the nuts. As Sad Clown doubles over, she knees him in the face. Sad Clown collapses. Or more like he deflates, clown style. Knight Owl and Iron Maiden have a moment. KNIGHT OWL Thanks. IRON MAIDEN Yeah, well, this doesn't mean I'm giving up crime or anything. Knight Owl finds the release switches and frees Iron Maiden's hands from her embedded gauntlets. She's surprised. But she's still stuck to him, with spikes. KNIGHT OWL Do it. Iron Maiden slowly pulls away. SLURPING NOISES. Knight Owl grimaces in pain. POP. She's free. She stares at his bloody wounds. IRON MAIDEN Oh God. KNIGHT OWL My utility fanny pack. Healing pads. Iron Maiden reaches behind him to access his fanny pack. She pulls out pads and applies them to the wounds. They stick. She looks to him for an explanation. KNIGHT OWL A healing unguent of my own concoction. IRON MAIDEN You're quite the scientist. KNIGHT OWL I dabble. IRON MAIDEN If you don't mind, I'll run along and leave you to it. You gonna be okay? KNIGHT OWL I'll be fine. Iron Maiden picks up her helmet. She almost puts it on -- then shrugs, why bother? She turns to go-- IRON MAIDEN See ya. Wouldn't want to be ya. KNIGHT OWL Luigi's restaurant. Tomorrow night. IRON MAIDEN You're as crazy as they are! KNIGHT OWL I'll book a table for seven. Wear something red. I think you'll suit it. IRON MAIDEN You got high hopes, mister. KNIGHT OWL Always. Iron Maiden hesitates, thinking. Then she runs off into the night. The clouds clear the moon, leaving it full and bright again. Knight Owl smiles. KNIGHT OWL Still got it. FADE OUT
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Old 02-22-2016, 05:59 AM   #8
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Second Entry FADE IN. INT. DONE DEAL PRO FORUMS > PRIVATE MESSAGES DPATERSO So you got that extra entry for the valentines day contest? ME Nah, I can't find a good topic to write about. (then) My first entry was good though, kinda just wanna write more. DPATERSO Well then write. ME I kind'a wanted to write about writing. But it'll be kind'a corny to write about writing. Isn't that Kauffman's deal? DPATERSO Nothing is new. ME You know, I've always wondered how you say your name. DPATERSO What do you mean? It's pronounced "dpaterso". ME Right. DPATERSO Right. ME But, I mean is it D and then last name Paterso? Like, seems like Paterso, should be paterSON. DPATERSO it's dpaterso. Just like I'm saying it... Say it with me... dpaterso. ME DPATERSO. DPATERSO No, no. dpaterso. ME dpaterso? Oh. (then) Okay, that makes sense. (then) You know, some of these names-- You ever wonder how they came about? "14001", "Crayon", "The Road Warrior ", "EWTAYLOR" DPATERSO It's "ewtaylor ". ME That's what I said, EWTAYLOR. DPATERSO No, no. You are pronouncing it wrong. It's ewtaylor. ME This gag is getting old. DPATERSO I thought you were on to something... But sure, move on. INT. DONE DEAL PRO FORUMS > ABOUT THE CRAFT > SCREENWRITING THREAD: Character BIOs: useful or waste of time? ME This looks interesting. DPATERSO Why am I still in your script? I'm not even on that thread. Me turns to his side and directs his attention to the thread starter, GOLDMUND. ME This looks interesting. GOLDMUND Yeah, wrote this script and the director loves it, but says he doesn't "feel" the characters. Wants bios on each one of them. ME What a douche. GOLDMUND I know! ME Isn't that stepping on the actors toes a bit? DPATERSO Did you really just post that? ME I did. DPATERSO Meh. ME Thought you weren't on this thread! INT. DONE DEAL PRO FORUMS > PRIVATE MESSAGES CHICKENSCRATCH So, got anything yet? ME Eh, wrote something. CHICKENSCRATCH Send it over. ME Sent. Me, refreshes the page thirty odd times until "NEW MESSAGE" appears on his inbox. CHICKENSCRATCH This is... Horrible. ME (sarcastically) Why don't you tell me how you really feel? CHICKENSCRATCH Well, for one, it's unfilmable, two, this doesn't work outside of this message board. Three, is that really how how say dpaterso? ME RIGHT!? That's what I said! CHICKENSCRATCH Crazy. ME I know! CHICKENSCRATCH So, either way, no antagonist, no real point to it all, it's just a bunch of-- ME Chicken scratch? CHICKENSCRATCH That's lazy. ME Eh, a little clever no? CHICKENSCRATCH I'll let it slide. Listen, this is page four, means you have four more pages to make this work. You can turn this all around. ME Yeah but, it's already three and deadline is midnight and-- CHICKENSCRATCH There! ME There what? CHICKENSCRATCH There is your antagonist, time! ME Oh this is getting ridiculous. CHICKENSCRATCH Seriously! The goal is to make this eight pages, antagonist is time, boom! ME Eh, seems presumptuous. It's like trying to be something. CHICKENSCRATCH It IS something. Everything is something. ME Okay, I'll try. Thanks man. CHICKENSCRATCH Ma'am. ME Huh? CHICKENSCRATCH I'm a female... So it's Ma'am. ME (surprised) No sh!t. INT. CELTX - NIGHT ME I'm a loser, dpaterso is the man, I suck. I'm a loser, dpaterso is the man, I suck. I'm a loser, dpaterso is the man, I suck. I'm a loser, dpaterso is the man, I suck. INT. DONE DEAL PRO FORUMS > PRIVATE MESSAGES ME Yo! CHICKENSCRATCH Sup dude. ME Someone hacked into my account and typed all this crazy sh!t. CHICKENSCRATCH What they type? ME "I'm a loser, dpaterso is the man, I suck." CHICKENSCRATCH Oh sh!t! He got you too? He totally erased my whole eight pages and just did that. ME That's not cool. CHICKENSCRATCH I know! (then) You know, you should make dpaterso your antagonist, along with time. ME There is really no urgency here though, only I'm feeling the time issue. CHICKENSCRATCH Welp, it's eleven thirteen. The clock rapidly switches to eleven fourteen. CHICKENSCRATCH (CONT'D) You got forty six minutes to finish this story. ME Right, and if I don't get it done then what happens? NOTHING! No drama. CHICKENSCRATCH If you don't get it in by midnight promise to smash your computer screen. ME I just got this computer. CHICKENSCRATCH It's now eleven thirty. ME Okay. CHICKENSCRATCH Thirty one. ME Fine. I promise. INT. PORNHUB - NIGHT ON SEARCH BAR: "Midget big black penis" Five videos of midgets come out. Me looks at the clock and it says eleven forty-six. ME (sotto, to self) Don't. Don't. All I need is one more page, I can knock it out quick. Me "x's" out PORNHUB. Eleven fifty. ME F***. INT. CELTX - NIGHT ON SCREEN: "INT. DONE DEAL PRO FORUMS > PRIVATE MESSAGES DPATERSO So you got that extra entry for the valentines day contest? ME Nah, I can't find a good topic to write about." Back to reality. INT. LIVING-ROOM - NIGHT ME (sotto, to self) This is going to be so bad. INT. DONE DEAL PRO FORUMS > PRIVATE MESSAGES THE ROAD WARRIOR Yo! ME I did it. THE ROAD WARRIOR Aaannnddd? ME I guess, I still can't believe that's how you say dpaterso. THE ROAD WARRIOR That's how you say that? ME I know! THE ROAD WARRIOR Well did you hand it in already? ME Well, yeah, but it went over eight pages. THE ROAD WARRIOR By a lot? ME Nah, only thing on page nine was the big reveal. A one liner. THE ROAD WARRIOR Oh, well I'm sure dpaterso will let you get that bit in. ME Yeh, hopefully... It would suck if people didn't find out that the
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Old 02-22-2016, 06:00 AM   #9
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Default Re: Entries - Dark Valentine's contest 2016

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Dark Valentine FADE IN: EXT. LOS ANGELES -- DESERT ROAD -- NIGHT A crashed Sprite -- Crumpled fenders -- steam billowing -- A crumpled and torn flyer rests on the passenger seat -- what we can read begins "be my Dark Valentine -- then a piece that is difficult to decipher -- eventually -- Chateau Marmont -- 14th February 2016" The flare-haze of L.A's city lights in the distance -- Along this desert road staggers... ... the girl. Aged 22 -- beautiful. An actress. PULLING BACK TO REVEAL: INT. CALIFORNIA -- DESERT ROAD - MORNING A WIDE-ANGLE -- the girl sits down -- shakes out the sand from her red shoe. She is very young and mysterious -- angular black hair cut in the style of an early movie star. As she stares up at the CAMERA we see that her make-up is smeared and that her eyes are puffy. ANGLE FURTHER DOWN ROAD -- A black limousine is slowly approaching -- main beams on full in the morning gloom. She is walking-death, lost in her reverie. The limousine slows -- the door closest to her GENTLY CLICKS open -- there is nobody in the rear -- she sees only the black leather interior and small and bright recessed lights. INT. LIMOUSINE -- MOMENTS LATER -- The girl sits back in her seat -- the leather is cool and smooth -- she feels the surface of the upholstery with flat palms of her hands. A whir as the partition descends-- -- we meet the DRIVER. DRIVER We have spirits and a little vodka if it would help? GIRL I don't like spirits. Silence. DRIVER There's some natural or sparkling water back there. GIRL Do you always pick up strangers? The driver seems animated now. DRIVER Well miss... I only ever pick up strangers. GIRL Really. Let me guess, they're mostly young girls? DRIVER Mostly. (he smiles) They tell me who to pick up. GIRL They? DRIVER I'm just the driver ma'm. The limo accelerates. The girl regards her own reflection in tinted black glass of the window. Beyond her ghostly image lies L.A. the city reflects the sun's rays from the downtown buildings. EXT. VARIOUS ANGLES/ HOLLYWOOD HILLS Time drums to a different beat -- as the limo glides through the canyon roads day quickly becomes night. Above this canyon road -- directly ahead -- we see the white lettering of the Hollywood sign but something unusual is happening -- the sign is growing brighter -- a blaze of white lettering, it blinds us. INT. LIMOUSINE - CONTINUOUS Oblivious and stifling her emotions the girl begins to groom. She opens her small jewel incrusted purse and combs her hair -- she removes a white handkerchief with the initials L.T. emblazoned -- slowly and deliberately wipes down through the running make up that gave her a sad clown like appearance. A second girl emerges from beneath the tear-runs and make-up -- more natural -- that face now belies a flicker of home town innocence. DRIVER (via mirror) That's much better. GIRL Oh... so you think so do you? The girl wipes her lipstick off in a small handheld mirror. GIRL (CONT'D) Where are you from Driver? DRIVER I'm not from anywhere. GIRL Moved around a lot huh? DRIVER You could put it like that. After a reckless-sounding laugh. GIRL Are you taking me anywhere nice? DRIVER I'm taking you somewhere interesting. GIRL Let's just get there then, speed up. The driver looks at her again -- they lock eyes. DRIVER We're going to be making a number of stops. GIRL That's fine by me. I'm used to that by now. She begins to laugh again -- but this time the tremor in her voice is unmistakable. The cones of the limo's lights sweep the road ahead as they drive down through the Hollywood Hills. Beyond that is only an inky blackness. DRIVER I'd prefer it if you'd buckle up. GIRL ... that's fine by me. I'll feel safer yes? The car begins to accelerate -- slowly at first and then building speed -- swinging around the narrow curves of the canyon roads until the engine is ROARING -- rain begins to splatter the windshield. GIRL (CONT'D) I guess we're not in L.A. anymore? The driver stays silent. She stares out through the windshield over the driver's shoulder, flakes of snow crystals begin to appear and soon -- we're driving through a heavy blizzard. The snow begins to ease slightly and is replaced by a frosted night -- a glassy road ahead gives way to a dirt track -- the limo bumps and rocks along comfortably over deep mud. EXT. MEDIEVAL CHURCH YARD -- NIGHT The door CLICKS open and the girl climbs out -- the Driver follows and immediately stares up at the church spire, faintly ominous, shrouded in a heavy mist. GIRL Is this a new century? DRIVER Please... follow me. They approach an old wall -- a small entrance -- arched wood and stone -- they stand closer to the wall -- watching -- waiting. GIRL Who am I here to see? DRIVER Patience... Out beyond the grim nest of slanted stones a young girl appears -- her white dress is so bright it appears to glow in the moonlight. Then a man dressed in plumes and and a ruff makes an entrance - he is dressed in the garb of the 17th century -- they join hands and begin to dance -- he leads -- they move around in a tight circle. She stares longingly into his eyes. The driver begins to walk back to the limo. GIRL So soon... DRIVER We owe them their privacy at least. INT. LIMOUSINE - MOMENTS LATER The girl is staring at the driver -- her face begs an explanation. GIRL Those were ghosts back there. I know real people, and they weren't real people. They were ghosts. You just showed me some dead people. DRIVER Yes, they were ghosts, at least that is what you would call them. GIRL Who were they, who was she, they seemed very much in love. DRIVER He was a Spanish nobleman and she was once a beautiful peasant girl. They fell in love but were expressly forbidden from seeing one another by his father, a great Duke... GIRL And so come on, what happened to them? DRIVER She was poisoned and soon after, he threw himself down a well. The girl slumps back. GIRL (gravely) You're showing me the centuries jilted lovers, the broken hearted, the... DRIVER I'm showing you what you do not see or understand. The limo accelerates -- the darkness clears -- night rolls back -- bright sunshine envelops the back seat of the limo -- so bright that the girl pulls a shade down and puts on her shades. Coast road -- Pacific North West -- The girl returns the sunglasses to her purse as the light fades into a cool evening blue-- she then notices that her dress has changed -- flowing 1920s style -- white -- she's dressed like an old movie star. EXT. COAST ROAD - ENTRANCE TO PARKING AREA The limousine makes a violent turn into a parking area -- drives up to a high point. Beyond -- the sea -- blue -- perfect -- stretching forever. But that's not what grabs the girl's attention as she exits the limo and sees -- -- a crumpled pink Cadillac turned violently against the view and facing towards us. Out in front a gil -- an actress in the vein of a starlet under the old studio system -- she seems sad -- distracted. She is pressing a single rose to her chest -- a tiny drop of blood runs down her cheek -- for a moment she looks back out to sea and then casts the rose out in front -- we watch it blow out in an arc until it settles on the cold water of the roiling pacific. DRIVER We must go. GIRL No... you are forbidden to see more. The driver grabs the girl's arm and forces her back into the limo. GIRL (CONT'D) You bastard... men are all the same. INT. LIMOUSINE - MOMENTS LATER The girl is furious -- she slaps at the driver. GIRL Tell me that she drives away. She drives away right? DRIVER She is there, in a sense, the car is also there, it's at the bottom of the cliff, under the water. GIRL Who did that to her, was she jilted? DRIVER She was under contract to a studio and worked with one of those big directors back in the day. When he found her with drugs, she was let go, she owed her job to him, but the director had found out about her lover, another actor and so after he took an overdose and died, she decided to end her life. It never made the papers. GIRL I want to get out... let me out here! DRIVER I have so much else to show you... stories and events that nobody else has ever seen or even knows about. GIRL I don't care, I want to live... I don't want to end up like that... I'm young, I have my life ahead of me. DRIVER That's fine miss, I'll drop you outside your hotel. The girl can't quite believe it -- in front of the car is the Chateau Marmont -- rising up in the bright light of L.A. morning. GIRL Listen... I now know why you picked me up? At first I just thought you were another creep, but I didn't care what I did at that- DRIVER Do you care... now? GIRL Don't patronize me. I'm getting out! The girl tumbles out of the limo and brushes herself down. She blinks in the harsh light of L.A. As she stares at the limo the whir of an electronic window. DRIVER Keep it... I think she'd have wanted you to have it. The girl takes the pendant. A small locket made out of high carat gold with a single diamond in the center. When she looks up the limo and its driver have disappeared. EXT. L.A. MANSION -- HOLLYWOOD HILLS -- NIGHT A 1950s saloon sits in a driveway beneath a coconut tree. Lawn sprinklers scatter silver droplets -- the spray rainbows in the lights of the Hollywood mansion behind. We hear two very loud GUNSHOTS EXT. BALCONY -- HOUSE --SAME A woman in a white party dress steps backwards -- crying -- she drops the gun -- the barrel is still smoking -- she turns and stares down at the blue of an underwater lit swimming pool -- suicide swims in her eyes. She kicks her shoes off and begins to climb up onto the white balcony wall capping and suddenly -- DRIVER I don't think there's really any need to do that miss. Her attention darts to a young man below -- dressed in evening wear -- just beyond him is an early 1950s limo with the lights blazing. DRIVER (CONT'D) Miss... easy... please step back down onto the tiles. You see... I have something to show you... but we must get going...! SLOWLY FADE to black.
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Old 02-22-2016, 06:01 AM   #10
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Default Re: Entries - Dark Valentine's contest 2016

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The Incredible and Slightly Implausible Tale of the Shuriken of Love FADE IN: -- on a gaggle of college girls playing softball. GEORGE (21, tall, sexy) is at the center of the action as always -- George plays a fast ball towards her best friend Lucy (20, blond, leggy) who giggles -- almost falling over the ball in her rush to bat it away -- Watching all this with keen interest from their daily pew on the college steps is Chad (22, tall, athletic) and Wayne (21, funny, shorter). Chad regards his ice cream with more than detached interest before he takes a slow and deliberate lick. WAYNE Sometimes you disgust me. CHAD It reminds me of summer Wayne. WAYNE We've got Valentine's Day tomorrow and we don't even have a date. CHAD We could just go over and speak to George and Lucy in person. WAYNE I don't know... sounds a bit extreme. Who does something like that these days? CHAD Hmmm... I'm not even sure how that's done. WAYNE Our babe-point-average is really low this year Chad. Chad clears his throat. CHAD Erm... how far are you prepared to go Wayne? WAYNE Whatever it takes. I'll try anything once Chad. CHAD It's just an urban myth, but if we follow it up. EXT. JAPANESE ANTIQUARIAN SHOP WINDOW - DAY Oddities -- four old samurai swords, candles, strange little stuffed animals, charms, pendants. Ghostly masks hang on both walls at the side of the window display. Right at the center of all this weirdness -- elegantly presented on satin and in a box... is an ancient shuriken. WAYNE This doesn't look like it's going to help with the babe-count. Chad is poised for action... his hands are folded in prayer and he is muttering some kind of secret incantation. CHAD I have to achieve a perfect state of Tai Chi oneness to become one of the deserving. WAYNE I have no idea what you are doing. This is just so weird. CHAD Okay... I'm ready to answer the question and pass the test the shop's owner will present to me. WAYNE What test... Chad? Too late... Chad has disappeared. INT. CHAD'S CAR - MOMENTS LATER The throwing star is on the dashboard. Wayne is staring hard at it. WAYNE I know it's for the fourth time Chad but run that past me again. CHAD You simply throw the shuriken at any girl you desire and if it sticks she will instantly fall in love with you. WAYNE Is that even legal? CHAD Not strictly... but it's the shuriken of love... you can't fail Wayne. EXT. CAMPUS GROUNDS - COLLEGE WALK IS The long pathway between campus buildings where Wayne has positioned himself behind a hedge. We watch a tall brunette girl, CHRISTABEL (22) as she tries to balance several heavy books. Suddenly a fluttering noise fills the air and our POV ahead of the girl is a good place to witness the explosion of books and the high-pitched scream. CHRISTABEL What kind of mother---ker! Wayne sidles up. WAYNE I was wondering if I could have my shuriken back please. CHRISTABEL You're the creep who threw- Christabel is angry but her expression is -- strangely beginning to soften. WAYNE It's just there, no... right butt. CHRISTABEL Oh... I see. Wayne is turning red... WAYNE Thanks. Really, that should be fine, it doesn't leave any marks, must be magical or something. CHRISTABEL Oh I understand... here you go... say... are you new here? Christabel's eyes are swimming with love. WAYNE Oh, erm, kind of. CRISTABEL So where do you hang? I don't recall seeing you around. WAYNE Hang? Oh hang... sure, yeah...well me and my friend Chad... we... er... sit on the college steps most days. Wayne reddens further. CHRISTABEL Wow that's such a cool place to hang. Listen... (she smiles and does a sort of cuddly motion left to right) I was supposed to be meeting Joe, he's my football playing boyfriend over at the sport's college, tomorrow, but I'd sure like to hang with you instead. You know... Valentine's. WAYNE Er... Valentine's, who knew... sure, why not, I'll be there at 10am. CHRISTABEL Cool, we'll hang tomorrow then. WAYNE Somebody will. CHRISTABEL What's that? WAYNE Nothing. Listen... Christabel, do you mind if there were to be any other girls there? CHRISTABEL Not so long as you are going to be there... I don't mind. WAYNE Cool. We'll hang tomorrow. They smile and lightly bump fists. CHRISTABEL Oh, what's your name by the way? WAYNE Wayne. CRISTABEL I'm Christabel. Wayne left on the stage alone -- so to speak. WAYNE This is just incredible... that's at least ten girls so far! LUDICROUS MONTAGE... but please stay with me reader: Hallucinatory is the abiding image here -- Arc of a fluttering throwing star passing and re-passing over the screen time and again. We see girl's spinning around in anger and then slowly succumbing to the same dizzy lovesick swoon as Wayne approaches. Wayne shrugging, apologetic, taking down phone numbers, helping remove the shuriken from a girl's arm, her breast, leg, but usually from sore butts. EXT. COLLEGE STEPS - VALENTINE'S DAY - MORNING Wayne pleading with Chad -- an argument that has become heated. CHAD How many? WAYNE I've forgotten. Twenty maybe? CHAD Twenty! WAYNE At least... CHAD You've abused the shuriken of love Wayne. WAYNE We never discussed limits. CHAD I thought that if you ever got the guts up you might just... maybe... try it on George. You're always talking about her. WAYNE I'd never try it on George. CHAD Oh... but any other girl is fair game. You know what... you're a sick man Wayne. WAYNE I got carried away. Chad sees something coming their way. CHAD That's an army? WAYNE Here they come? Must push off, see you later. You'll be here right? Over the field is a small platoon's worth at least of girls, when they see Wayne they let out a shriek and begin to run. CHAD Now I get why he wanted to borrow the college minibus... and I vouched for him. After mobbing Wayne he walks to our right -- we CAMERA track him and the minibus appears as he counts the girls in. When the rear is full three girls follow Wayne into the front. EXT. COLLEGE STEPS - VALENTINE'S DAY - EARLY EVENING Chad eats an ice cream whilst watching the shadows begin to run over the college grounds. He seems to have been there for a number of hours. A shadow appears form behind him -- he looks up to see George and Lucy watching. GEORGE Any left for us? CHAD Er, no... I mean sure if you want to go and get- GEORGE Just kidding. We thought we'd come over and say hello. What's your name? CHAD It's erm... Chad... I mean, yeah... that's right. Oh... I'm waiting to see if my friend Wayne gets back alive. The sound of an engine and then the minibus appears -- swerving erratically all over the college field. EXT. ANOTHER ANGLE - THE MINIBUS COMING DIRECTLY AT US The sudden SCREECHING draws George -- Lucy -- Chad's attention. As the minibus continues to swerve back and forth until it pulls up only twenty yards away. The rear door bursts open and Wayne, dressed in only a bra and a pair of girl's knickers is thrown out. We can see two girls in the driving seat as they lap once more and scream away. George, Lucy and Chad run over to where Wayne is face down in the dirt. CHAD Wayne.. are you okay? Wayne remains motionless. GEORGE Is he okay? WAYNE I'm fine. Let me just gather my thoughts for a moment. CHAD Did they harm you in any way? WAYNE Not really, it began so well (seems dizzy) We had a picnic, we went to the lake, and swam naked, well, I did. We went into town and I walked into the mall with all these girls on my arm and it was like... about me... me... me! CHAD Wayne, calm down dude, I was warned that after the day was over, that extreme narcissism was a risk. WAYNE But then... around... six o'clock... the effect- CHAD Began to wear off and they became themselves again, I forgot to mention that there was a time limit. Lucy stares at Chad. LUCY So they began to kick your butt? WAYNE Even that felt good. Well, kind of. GEORGE How did this all get started boys? CHAD The shuriken of love! Wayne and I requested it from an antiquarian book and oddities dealer who is also a sage of love on the side. LUCY I've no idea what you're both talking about but it sounds like you've been taught some kind of a lesson. WAYNE I don't know what happened but they all chased after me at once. CHAD Wait.. what about the shuriken Wayne! WAYNE Try the left cup. Chad reaches in. CHAD It's not there, you didn't lose it did you. That would be so bad. WAYNE Other side. Chad carefully recovers the throwing star and places it carefully inside his college pack. GEORGE I've seen those in badly dubbed martial art films. WAYNE Something like that, only this one is slightly different and way more powerful. CHAD Too powerful. GEORGE If you boys have stopped playing at being Cupid... We wondered if you'd like to go out for A few beers? WAYNE On like a real date? Lucy glances at George and winks. LUCY Kind of. Yeah. GEORGE We got bored of hanging about. WAYNE Hanging about? GEORGE Sure. You've been coming onto us with your eyes all month. We just figured we'd make the first move, before college was over. CHAD That sounds so cool... ... but wait... I have request of sorts... WAYNE That had better not involve more ice cream. Wayne who whacks his head, stares back at Chad in disbelief. The girls glance at one another and smile. FADE OUT... and it is probably felt by all.. not before time.
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